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RKO Pictures
RKO (Radio-Keith-Orpheum) Pictures is an American film production and distribution company. As RKO Radio Pictures Inc., it was one of the Big Five studios of Hollywood's Golden Age. The business was formed after the Keith-Albee-Orpheum (KAO) theater chains and Joseph P. Kennedy's Film Booking Offices of America (FBO) studio were brought together under the control of the Radio Corporation of America (RCA) in October 1928. RCA chief David Sarnoff engineered the merger to create a market for the company's sound-on-film technology, RCA Photophone. By the mid-1940s, the studio was under the control of investor Floyd Odlum. RKO has long been celebrated for its series of musicals starring Fred Astaire and Ginger Rogers in the mid-to-late 1930s. Actors Katherine Hepburn and, later, Robert Mitchum had their first major successes at the studio. Cary Grant was a mainstay for years. The work of producer Val Lewton's low-budget horror unit and RKO's many ventures into the field now known as film noir have been acclaimed, largely after the fact, by film critics and historians. The studio produced two of the most famous films in motion picture history: King Kong and Citizen Kane. Maverick industrialist Howard Hughes took over RKO in 1948. After years of decline under his control, the studio was acquired by the General Tie and Rubber Company in 1955. The original RKO Pictures ceased production in 1957 and was effectively dissolved two years later. In 1981, broadcaster RKO General, the corporate heir, revived it as a production subsidiary, RKO Pictures Inc. In 1989, this business with its few remaining assets, the trademarks and remake rights to many classic RKO films, was sold to new owners, who now operate the small independent company RKO Pictures LLC. Origin of company In October 1927, Warner Bros. released The Jazz Singer, the first feature-length talking picture. Its success prompted Hollywood to convert from silent to sound film production en masse. The Radio Corporation of America (RCA) controlled an advanced optical sound-on-film system, RCA Photophone, recently developed by General Electric. However, its hopes of joining in the anticipated boom in sound movies faced a major hurdle: Warner Bros. and Fox, Hollywood's other vanguard sound studio, were already financially and technologically aligned with ERPI, a subsidiary of AT&T's Western Electric division. The industry's two largest companies, Paramount and Loew's/MGM, with two other major studios, Universal and First National, were poised to contract with ERPI for sound conversion as well. After an aborted attempt by Kennedy to bring yet another studio that had turned to him for help, First National, into the Photophone fold, RCA was ready to step back in: the company acquired Kennedy's stock in both FBO and the KAO theater business. On October 23, 1928, RCA announced the creation of the Radio-Keith-Orpheum holding company, with Sarnoff as chairman of the board. Kennedy, who withdrew from his executive positions in the merged companies, kept Pathé separate from RKO and under his personal control. RCA owned the governing stock interest in RKO, 22 percent; in the early 1930s, RCA's share of stock in the company rose as high as 60 percent. The company's production and distribution arm, presided over by former FBO vice-president Joseph I. Schnitzer, was incorporated early in 1929 as Radio Pictures. Looking to get out of the film business the following year, Kennedy arranged in late 1930 for RKO to purchase Pathé from him. On January 29, 1931, Pathé, with its contract players, well-regarded newsreel operation, and Culver Studios along with its' associated backlot, located more or less next door to the vastly larger MGM lot was merged into RKO proper as Kennedy sold off the last of his stock in the company he had been instrumental in creating.Seeking a customer for Photophone, in late 1927, David Sarnoff, then general manager of RCA, approached Joseph Kennedy about using the system for Kennedy's modest-sized studio, Film Booking Offices of America (FBO). Negotiations resulted in General Electric acquiring a substantial interest in FBO—Sarnoff had apparently already conceived of a plan for the company to attain a central position in the film industry, maximizing Photophone revenue. Next on the agenda was securing a string of exhibition venues like those the leading Hollywood production companies owned. Kennedy began investigating the possibility of such a purchase. Around that time, the large Keith-Albee-Orpheum (KAO) circuit of theaters, built around the then-fading medium of live vaudeville, was attempting a transition to the movie business. In mid-1927, the filmmaking operations of Pathé and Cecil B. DeMille's Producers Distributing Corporation had united under KAO's control. Early in 1928, KAO general manager John J. Murdock, who had assumed the presidency of Pathé, turned to Kennedy as an adviser in consolidating the studio with De Mille's company, Producers Distributing Corporation (PDC). This was the relationship Sarnoff and Kennedy sought. RKO General One of North America's major radio and television broadcasters from the 1950s through the late 1980s, RKO General traces its roots to the 1943 purchase of the Yankee Network by General Tire. In 1952, the company united its newly expanded broadcasting interests into a division dubbed General Teleradio. With the tire manufacturer's acquisition of the RKO film studio in 1955, its media businesses were brought together under the rubric of RKO Teleradio Pictures. In 1959, following the breakup of the movie studio, the media division was given the name it would operate under for the next three decades, RKO General. In addition to its broadcasting activities, RKO General was also the holding company for many of General Tire's (and, after its parent company's reorganization, GenCorp's) other noncore businesses, including soft-drink bottling, Musac (dept. store and elevator piped-in) music, Video Independent Theatre (135 theatres strong) Circuit, hotel enterprises, and, for seventeen years, the original Frontier Airlines. The RKO General radio lineup included some of the highest rated, most influential popular music stations in North America. In May 1965, KH (AM) in Los Angeles introduced the Boss Radio variation of the top 40 format. The restrictive programming style was soon adopted by many of RKO's other stations and imitated by non-RKO broadcasters around the country. RKO's FM station in New York pioneered numerous formats under a variety of call letters, including WOR and WXLO ("99X"); in 1983, as WRKS ("98.7 Kiss FM"), it became one of the first major stations to regularly program rap music. In 1979, RKO General created the RKO Radio Network, reportedly the first broadcasting web linked via satellite. The company's television stations, for the most part non–network affiliated, were known for showing classic films (both RKO productions and many others) under the banner of Million Dollar Movie, launched by New York's WOR-TV in 1954. In June 1962, RKO General and Zenith Electronics initiated what became the first extended venture into subscription television service: through early 1969, Hartford, Connecticut's WHCT-TV aired movies, sports, classical and pop music concerts, and other live performances without commercials, generating income from descrambler installation and weekly rental fees as well as individual program charges. However, RKO General's most notable legacy is what may be the longest licensing dispute in television history. It began in 1965, when General Tire was accused of obliging vendors to buy advertising with one of its stations if they wanted to keep their contracts. More than two decades' worth of legal actions ensued, eventually forcing GenCorp (the parent company since 1983 of both General Tire and RKO General) to sell off its broadcast holdings under FCC pressure. RKO General exited the media business permanently in 1991. Logos Most Radio Pictures Inc. and RKO Radio Pictures Inc. films produced between 1929 and 1957 have an opening logo displaying the studio's famous trademark, the spinning globe and radio tower, nicknamed the "Transmitter." It was inspired by a two-hundred-foot tower built in Colorado for a giant electrical amplifier, or Tesla coil, created by inventor Nikola Tesa. Orson Welles referred to the design as his "favorite among the old logos, not just because it was so often a reliable portent. ... It reminds us to listen." The studio's closing logo, a triangle enclosing a thunderbolt, was also a well-known trademark. Instead of the Transmitter, however, many Disney and Goldwyn films released by the studio originally appeared with colorful versions of the RKO closing logo as part of the main title sequence. For decades, re-releases of these films had Disney/Buena Vista (Disney RKO films) and MGM/Goldwyn (Goldwyn films) logos replacing the RKO insignia, but the originals have been restored in many recent DVD editions. The Hartley–Merrill RKO Pictures has created new versions of the Transmitter and the closing thunderbolt logo. See also *List of RKO films External links *RKO Radio Pictures at the Internet Movie Database *RKO Pictures at the Internet Movie Database ;RKO Radio Pictures history *The Early Sound Films of Radio Pictures comprehensive listing of RKO (and FBO sound) features through 1935, with stars and release dates—see also The Early Sound Films of Pathé for the RKO-Pathé films of 1931–32; both part of Vitaphone Video Early Talkies website *RKO Theater Chain list of classic movie houses belonging to RKO chain; part of Cinema Treasures website ;RKO Pictures LLC *RKO Pictures the Hartley–Merrill company's website *Ted Hartley personal website of RKO Pictures LLC's chairman and CEO *"Newman Helms Doc" article by Michael Fleming on planned Hartley documentary, Variety.com, September 11, 2003 ;RKO library and logos *C&C RKO 16 mm Prints extensive discussion of RKO preservation and rights issues, by David Chierichetti; part of eFilmCenter website *The RKO Logo essay by Rick Mitchell; part of Hollywood: Lost and Found website *RKO Pictures Logos detailed descriptions by Nicholas Aczel and Sean Beard